Not a drop of hindsight on forward-looking `20/20'

Joey Guerr, Houston Chronicle

By Joey Guerra

Updated 3:58 pm, Monday, March 18, 2013

Justin Timberlake in New York, July 8, 2011. Timberlake continues his transition from pop star to a Hollywood professional as he took on the lead role in two major screen comedies this summer. (Mark Veltman/The New York Times) STANDALONE - FOR USE AS DESIRED WITH ARTICLES AND FEATURES RECAPPING 2011.

Photo: MARK VELTMAN, STR

Justin Timberlake in New York, July 8, 2011. Timberlake continues...

Justin Timberlake in New York, July 8, 2011. Timberlake continues his transition from pop star to a Hollywood professional as he takes on the lead role in two major screen comedies this summer. (Mark Veltman/The New York Times) -- PHOTO MOVED IN ADVANCE AND NOT FOR USE - ONLINE OR IN PRINT - BEFORE JULY 17, 2011.

It's been almost seven years since the former boy-bander brought sexyback, and he's spent that time making movies about one social media tool, trying to reinvent another and hosting "Saturday Night Live." He's morphed himself into an effortless, all-around entertainer, and now it's time to get back to the music.

Timberlake knows the pop-star stakes are high. But instead of playing it safe, he's going for broke. "The 20/20 Experience" is unlike anything that's been on radio in the last several years, like a warp-speed version of Bruno Mars, Miguel and Frank Ocean. It often plays like the link between 2002 solo debut "Justified" and 2006's "FutureSex/LoveSounds."

At its best, the album recalls the hazy, crazy experimentation of Prince, Janet Jackson at her prime (think "The Velvet Rope") and even Beyoncé's "4." Most of the songs clock in at seven minutes, and everything feels big and bold.

There's love and sex and soul here, typified by first single "Suit & Tie." It's Timberlake effortlessly reclaiming his pop throne and showing the younger boys how it's done (despite an overlong Jay-Z feature). The song isn't an instant hook, but it's a grower and proves that Timberlake can still do Marvin Gaye better than most contemporaries (and that includes you, Robin Thicke).

Most of these are less songs than movements. Several unfold in sonically diverse directions, switching tempos and genres without warning. "Pusher Love Girl" simmers on an elastic soul groove, and Timberlake hits that unmistakable falsetto from the first chorus. "Don't Hold The Wall" rides a hypnotic, sensual groove; and "That Girl" rides a smooth, '70s vibe.

Producer Timbaland's hand ably guides most of the material. His work is immediately recognizable. But like Timberlake, Timbaland also pushes himself to new heights. This is the most urgent, effective work he's done in years. "Strawberry Bubblegum" and "Spaceship Coupe" are wacky standouts that channel Prince; and "Tunnel Vision" boasts blocky beats and vocal loops reminiscent of Timbaland's groundbreaking work with Aaliyah.

"Let The Groove Get In" is a sharp left turn and more in line with what people likely expected from a Timberlake album. It's a party song with Latin flourishes - JT backed by Miami Sound Machine with a hint of Lionel Richie's fiesta-forever pop. Current single "Mirrors" also has that commercial sheen and recalls the melody and stacked vocals of "Cry Me a River."

The disc's moody closer, "Blue Ocean Floor," is a murky stream of consciousness that finds him ruminating on troubled relationships. (Rumors says it's about everyone from Jessica Biel to Britney Spears.)

"If my red eyes don't see you anymore/And I can't hear you through the white noise/Just send your heartbeat/I'll go to the blue ocean floor" - it's not bringing sexyback, but it's arguably just as entertaining.